My art journey started in the 1970s when we went to live in the United States for several years and I could not obtain a work permit. I made the most of the many local classes, partly for social reasons as I knew no one there. After trying out oil painting, I studied with Trever Bennett, an excellent watercolourist, and quickly realised that I had found my preferred medium. We returned to the USA in the 1990s and it was then that I was fortunate to study with David Daniels, one of Washington’s DC’s best and most inspiring water-colourists whose approach is what I continue to use today. However, as an artist, I wanted to go further and add new skills to my repertoire including, gouache painting, printing and making my papers. This combination has led to my recent collage work which draws on all these extra elements. Once back in the UK, I taught for many years, but since COVID-19, I limit myself to the occasional workshop and demonstration.
As we moved frequently with the RAF, my studio was just a table in the spare room. Painting was always with me; it didn’t matter where I was. It stood me in good stead through some very difficult periods when my husband was away; it was a very helpful mental diversion for me. When we finally settled, my husband had a large cabin built at the end of the garden which we christened ‘Shangri l ’Art’. It’s not a tidy place as the variety of techniques I use means I need a lot of ‘stuff’, but I like to think that I am organised. The studio is fitted out with kitchen units giving me 3 metres of worktops on both sides and a variety of drawers and cupboards. It’s well-insulated and heated in winter.
Inspiration for my work comes mainly from our travels, which is invariably wildlife-based and from which I get my photographic reference.
My favourite subjects for watercolours are colourful tropical birds using pure, traditional methods. These are painted by glazing pure colour in layers to create a jewel-like effect. Each layer is painted and then masking fluid is applied to reserve parts of the painting that are to stay that tone and colour. The next layer is painted, masked and so on until I get to the stage when I paint positive shapes and patterns. Finally, I removed all the masking fluid for the big reveal.
My collage paintings are subject-based rather than abstract, I generally work to a rough cruciform composition, placing the centre of interest using the golden ratio. My paintings start with an idea, often realised on holidays and which I note down in case I forget. I have never had a traditional sketchbook as I take notes on my tablet, but when the opportunity arises, I make pen sketches, shamefully on any old scrap of paper. I do regret that I never used a sketchbook, but it’s too late to start now.
My collages comprise images, textures, printing and painting separate elements. Then I create my composition with a strong focal point. These works can take several months.
I always have several paintings on the go which are at different stages, so I always find something to reflect my mood. I paint daily from about 10 am until 12.30 pm. Early on, I realised that I preferred to paint in the morning while I was fresh and before mundane household tasks got in the way.
I am privileged to have been elected as a member of the Society of Women Artists which exhibits at the Mall Galleries, and in 2021 was awarded the Princess Michael of Kent award for my body of work. That same year I gained a Gold Citation of ‘Tiger at Bandgevagh’. I am a member of the Buckinghamshire Visual Group exhibiting with them at their Open Studios event and I belong to The West Wycombe Art Group which meets each week to paint together. A couple of years ago I was shortlisted for the SAA Artist of the Year and a finalist at the TALP exhibition at Patchings Art Centre.
It has been a long road but a very happy one and my mantra is ‘creativity is good for your health!’
